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Ali RyersonShe's consistently voted among the top jazz flutists in the "Downbeat Jazz Poll."Her latest CD (she's released nearly two dozen jazz albums) is called "Game Changer - Ali Ryerson Jazz Flute Big Band." When it came out last fall it was in the top 10 on the national Jazz Charts for six weeks. It features a handpicked band of flutes. There's no other album like it. www.aliryerson.comShe attended Western Connecticut State University in Danbury, and is a graduate of Hartford's Hartt School of Music.She plays next locally with her quintet April 27 at Bernard's Restaurant in Ridgefield, 6:30 to 8:30 p.m. There's a $22 cover; reservations are required. There's a dinner seating at 6 p.m. 203-438-8282

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It's shiny and silver, and her name is engraved on it.

She carries it in a case lined in black velvet -- protecting it like a piece of fine jewelry.

And when she brings it to her lips, there's magic.

Ali Ryerson's sleek, slender flute has taken her from New Zealand and Japan to Africa, Russia and beyond. The internationally renowned jazz flutist never travels without it. In fact, she usually has two or more with her; different flutes have different sounds.

"A bill was passed that says I can carry them on the plane; I don't have to check them," she said, referring to the 2012 aviation act, which says instruments that fit may be carried on board.

Ryerson, 61, has her own line of flutes-- an autographed series she helped design for Gemeinhardt Musical Instruments. She travels quite a bit -- sometimes to teach master classes, often to perform. She's played everywhere from the Kennedy Center to Carnegie Hall, and at the Monterey Jazz Festival.

When not traveling, she splits her time between homes in Brookfield and St. Augustine, Fla. We caught up with her recently at her Brookfield cottage, near Candlewood Lake. The question on the table: Does music make you a better person?

Ryerson came to her answer in a roundabout way, first sharing that music is her passion and she's always loved the flute. That said, she pointed out that any life in the arts involves struggle.

"You're baring your soul to your fellow musicians and the audience, but I think that's a good thing," she said. "The value of art in our world can't be overstated. If you look at the history of man, and look at what's left by different civilizations, it's their art, writing, music, theater, sculpture. It's art. Not the economy, not how much somebody made."

Ryerson said few jazz musicians get into their careers because they think they're going to get rich. What they do know, is that music makes people happy. "Being involved in that for one's life's work, I believe -- not to sound pretentious at all -- I just believe it's a more valuable plane. I've had a good career and I'm comfortable, but I don't do what I do because of the money, I think that makes me a better person. There, I've said it."

She doesn't mean "better than others," just simply that her work as a musician makes her and others happy, and that's important. "Music is giving; it's communicating," she said. "So many people hate their jobs; I love mine. How lucky."

Not that it's all rainbows and unicorns. There are still challenges; musicians are a critical lot. "We tend to define our worth by how good a performance goes, whether on stage or in an audition. Self-esteem is very much wrapped up in that."

Ryerson recalled a Toronto orchestra audition early in her career; she and many other flutists were herded into a room. "I thought I could have done better. Only one person could win; the whole process depressed me. I took myself out to dinner and wrote a letter to my mother. I expunged my sense of depression and despair by expressing my feelings."

She never did send that letter. Nor did she get the orchestra seat. But shortly thereafter, Ryerson realized the jazz world was where she needed to be.

"It's the one I was meant to be in and the one I love," she said. "It's all about freedom and creativity." Not to mention camaraderie. "The best people I know are musicians," she said with a laugh.

These days, if Ryerson feels she's had an off night, she knows just what to tell herself. "I can be practically suicidal, that's somewhat of a joke, but having gone through that feeling many times, I know `This too shall pass.'"

It also helps to have beautiful memories, like one of the special night she had while performing as principal flutist with the Monterey Bay Orchestra. "Luciano Pavarotti was a guest artist and we were his backup band," she said, smiling. "There were 6,000 people in the audience. It was an outdoor concert at Pebble Beach. It was amazing."

Next Sunday, April 27, she'll perform in a vastly more intimate setting, in the Avelina Jazz Masters Series at Sarah's Wine Bar in Ridgefield. She'll be with her quintet; the venue is at Bernard's Restaurant at 20 West Lane.

"My father was a successful jazz guitarist," she said. "He used to say 'Music makes you honest.' And you need to be honest with yourself. Your first critic is yourself, and that's a very good thing. No matter how many fans say 'Oh, you played great,' if you feel good about your playing, that's what counts."

When home in Brookfield, Ryerson relaxes in the comfort of her cozy cottage. Her grandmother's baby grand stands in her living room, opposite the couch where she sometimes practices in front of a fieldstone fireplace, with stones from floor to ceiling.

Near the mantle is a horse brass from Stonehenge, one of many souvenirs from her travels. There's also a large umbrella from Japan on the piano, and a set of dishes from Tunisia in a corner cabinet.

Though sprinkled with treasures from around the globe, this cottage is not the opulent, sweeping place you might imagine. It's one of the original lake houses from the late '40s. Its rooms are small with a laid-back, down-to-earth vibe. It's humble and confident, exactly like Ryerson.

Linda Tuccio-Koonz is features editor at The News-Times; lkoonz@newstimes.com, @LindaTKoonz